Saturday, 22 October 2016

In this article we write a complete list of 2016 latest hollywood movies reviews and news. In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here

Keanu Reeves is a Louisiana attorney and Renee Zellweger the mother of his noncommunicative client in a courtroom drama directed by Courtney Hunt.
Everybody lies. For Richard Ramsay, a lawyer defending an uncooperative murder suspect in The Whole Truth, this is the only truth. It drives the legal strategy he walks us through, in impassive voiceover narration, in what might have been a tantalizing whodunit about the less-than-gleaming gears of justice but is instead a curiously uninvolving exercise in procedure.

Rather than tightening the screws and getting the blood pumping, director Courtney Hunt allows the viewer ample time to contemplate why Renee Zellweger’s unrecognizability has become politicized, why Keanu Reeves doesn’t do more comedy and why a drama toplined by two marquee names is slipping into theaters, with a simultaneous VOD release, virtually unannounced.

The answer to the last question is the flat melodrama that Hunt has wrung from a screenplay credited to Rafael Jackson. The filmmaker’s second feature, after 2008’s Frozen River, is set and filmed in Louisiana’s St. Bernard Parish, near New Orleans. It evokes the region’s clinging humidity, but with none of the urgency or narrative power of the earlier film’s frigid New York setting. Amid the story’s lurid peeks behind showy wealth to domestic horrors and marital secrets, the characters barely come to life. Nerve-pinching musical notes and venetian blind shadows don’t churn up even a modicum of noirish suspense.

Keanu Reeves
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Reeves’ motorcycle-driving Ramsay first appears as a grimace behind shades, arriving at the courthouse to defend a high school student in an open-and-shut case of patricide. The murdered man, Boone Lassiter (Jim Belushi), was a hotshot lawyer and Ramsay’s friend. Lassiter’s teenage son, Mike (Gabriel Basso), has confessed to the fatal stabbing, and now leaves Ramsay hamstrung by his refusal to discuss the matter. The attorney is resolute in his belief that trial witnesses are a bunch of lying liars. Punching holes in their stories, however obliquely, is his only option when his client won’t talk. While Mike doodles and Ramsay assassinates the dead man’s character, widow Loretta watches the proceedings in a state of seeming confusion and anxiety, with Zellweger’s performance registering a jittery mix of disillusion, fear and trophy-wife entitlement.

That the judge (Ritchie Montgomery) appreciates a swift trial is duly noted; this is a story of workaday legal mechanics, not lofty jurisprudence. Hunt’s interest in the strategic details of criminal-trial culture gives the film a matter-of-fact verisimilitude, if not a pulse. (The director, who has a law degree, has helmed episodes of Law & Order: Special Victims Unit, and producer Elon Dershowitz is the son of attorney Alan Dershowitz.) As the movie deconstructs such core aspects of the system as jury selection and attorneys’ theatrical maneuvers — matters handled with flair and intensity in The People v. O.J. Simpson: American Crime Story, to cite an extraordinary recent example — the effect is one of academic interest, not gripping storytelling.

Renee Zellweger was photographed July 20 in Pacific Palisades.
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Lending a bit of oomph is the arrival of Ramsay’s new junior colleague, Janelle Brady (Gugu Mbatha-Raw), just in time to provide helpful optics in the courtroom; she’s what Ramsay calls “mixed-race window dressing.” But Janelle gets a shot in the spotlight, proving her chops with an ingenious cross-examination of a character witness. And, Reeves’ wooden line readings notwithstanding, there are flashes of intriguing tension between him and Mbatha-Raw, a compelling performer who remains underused since her eye-catching turns in Belle and Beyond the Lights. Janelle’s personal baggage, the unhappy facts coolly elicited by her new boss, proves more engrossing than the Lassiters’ sordid saga, which is revealed in eleventh-hour testimony and flashbacks to the villainous Boone’s poisonous interactions with his family.

Everyone is clearly hiding something. But more pressing than the mystery of Mike’s silence and his parents’ toxic relationship is the sense of a missed opportunity that permeates the movie, sapping its final twist of the solar-plexus wallop it should have delivered.

Keanu Reeves is a Louisiana attorney and Renee Zellweger the mother of his noncommunicative client in a courtroom drama directed by Courtney Hunt.
Everybody lies. For Richard Ramsay, a lawyer defending an uncooperative murder suspect in The Whole Truth, this is the only truth. It drives the legal strategy he walks us through, in impassive voiceover narration, in what might have been a tantalizing whodunit about the less-than-gleaming gears of justice but is instead a curiously uninvolving exercise in procedure.

Rather than tightening the screws and getting the blood pumping, director Courtney Hunt allows the viewer ample time to contemplate why Renee Zellweger’s unrecognizability has become politicized, why Keanu Reeves doesn’t do more comedy and why a drama toplined by two marquee names is slipping into theaters, with a simultaneous VOD release, virtually unannounced.

The answer to the last question is the flat melodrama that Hunt has wrung from a screenplay credited to Rafael Jackson. The filmmaker’s second feature, after 2008’s Frozen River, is set and filmed in Louisiana’s St. Bernard Parish, near New Orleans. It evokes the region’s clinging humidity, but with none of the urgency or narrative power of the earlier film’s frigid New York setting. Amid the story’s lurid peeks behind showy wealth to domestic horrors and marital secrets, the characters barely come to life. Nerve-pinching musical notes and venetian blind shadows don’t churn up even a modicum of noirish suspense.

Keanu Reeves
READ MORE
Keanu Reeves' TV Comedy 'Swedish Dicks' Gets Second Season
Reeves’ motorcycle-driving Ramsay first appears as a grimace behind shades, arriving at the courthouse to defend a high school student in an open-and-shut case of patricide. The murdered man, Boone Lassiter (Jim Belushi), was a hotshot lawyer and Ramsay’s friend. Lassiter’s teenage son, Mike (Gabriel Basso), has confessed to the fatal stabbing, and now leaves Ramsay hamstrung by his refusal to discuss the matter. The attorney is resolute in his belief that trial witnesses are a bunch of lying liars. Punching holes in their stories, however obliquely, is his only option when his client won’t talk. While Mike doodles and Ramsay assassinates the dead man’s character, widow Loretta watches the proceedings in a state of seeming confusion and anxiety, with Zellweger’s performance registering a jittery mix of disillusion, fear and trophy-wife entitlement.

That the judge (Ritchie Montgomery) appreciates a swift trial is duly noted; this is a story of workaday legal mechanics, not lofty jurisprudence. Hunt’s interest in the strategic details of criminal-trial culture gives the film a matter-of-fact verisimilitude, if not a pulse. (The director, who has a law degree, has helmed episodes of Law & Order: Special Victims Unit, and producer Elon Dershowitz is the son of attorney Alan Dershowitz.) As the movie deconstructs such core aspects of the system as jury selection and attorneys’ theatrical maneuvers — matters handled with flair and intensity in The People v. O.J. Simpson: American Crime Story, to cite an extraordinary recent example — the effect is one of academic interest, not gripping storytelling.

Renee Zellweger was photographed July 20 in Pacific Palisades.
READ MORE
Renee Zellweger on Aging in Hollywood, Gender Inequality, Politics and Her Six-Year Break
Lending a bit of oomph is the arrival of Ramsay’s new junior colleague, Janelle Brady (Gugu Mbatha-Raw), just in time to provide helpful optics in the courtroom; she’s what Ramsay calls “mixed-race window dressing.” But Janelle gets a shot in the spotlight, proving her chops with an ingenious cross-examination of a character witness. And, Reeves’ wooden line readings notwithstanding, there are flashes of intriguing tension between him and Mbatha-Raw, a compelling performer who remains underused since her eye-catching turns in Belle and Beyond the Lights. Janelle’s personal baggage, the unhappy facts coolly elicited by her new boss, proves more engrossing than the Lassiters’ sordid saga, which is revealed in eleventh-hour testimony and flashbacks to the villainous Boone’s poisonous interactions with his family.

Everyone is clearly hiding something. But more pressing than the mystery of Mike’s silence and his parents’ toxic relationship is the sense of a missed opportunity that permeates the movie, sapping its final twist of the solar-plexus wallop it should have delivered.

In this article we write a complete list of 2016 best hollywood movies news and reviews. In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here

Felipe Sholl's sharp-eyed older woman/younger man comedy took the best film and best actress awards at the recent Rio de Janeiro festival.
Playing out like something that might have emerged from the mind of an early, less depressive Todd Solondz, The Other End has the engaging habit of overturning all the expectations it sets up. Felipe Scholl's debut casts a fresh eye over the younger guy/older woman trope to create a dissection of middle-class hypocrisies and neuroses that's fresh, light of touch and disarming, one which manages to keep one step ahead of the viewer — though without appearing just smart, and with its feet always firmly on the emotional ground. It's the kind of subject matter that could play well anywhere, and hopefully, following its two Rio awards, fests will be prepared to take a chance on a distinctive new voice in Brazilian cinema.

Early scenes suggest that we're about to enter a dark, nasty world. Middle-class bored kid, bookish Diogo (Tom Karabachian, positively dripping in teen heartthrob appeal) calls up older women, the patients of his psychiatrist mother Clarice (Denise Fraga). A la Philip Seymour Hoffman in Happiness, Diogo masturbates when they answer. Then he carefully deposits his protein shake into a plastic folder and labels it. One of the women is Angela (Karine Teles, from The Second Mother), in a depressive state after being left by her husband.

After a second call, Angela drinks herself into a stupor; realizing that something's wrong, Diogo rushes over and takes her to a hospital. It's every troubled teen's worst nightmare: The truth about Diogo's fantasies must come out, and does, after a little elementary detective work by Angela. But unexpectedly, Angela rather likes being the object of this gorgeous young fellow's attentions, hilariously calling the calls his "homage" to her before unexpectedly kissing him. Like others in the film, it's a scene fraught with dangers which could easily have been merely risible, but it plays entirely convincingly.

Angela and Diogo are suddenly an item, sharing a bed while he plays her a terrible song he's written. Meanwhile, the script is very sharp on Clarice's moral blindness as a shrink, angrily reprimanding Angela and Diogo whilst unable to keep her own marriage alive: "What's my son doing," the shrink yells in one scene, "with a depressive 40-year-old with a history of self-harm?" But inevitably the relationship succumbs to social pressures, and before too long Diogo is back on the phone.

In other words, The Other End (which refers to Diogo's phone conversations; the Portuguese title translates as the rather dull "Talk to Me") is one of those movies that lay bare the hidden horrors behind respectable bourgeois surfaces, which wittily reveals how convention-bound the liberal, progressive classes actually are.

The role of Angela demands a high level of nuance from Teles, and in this Rio festival award-winning performance she delivers it, sometimes under the unflinching gaze of close-up head shots. Angela could too easily become merely pathetic, but her joyfulness at having Diogo in her life — potentially the relationship is the perfect solution to the problems of both partners — means that they both enter a neurosis-free world where normal moral rules don't apply, and where they can be themselves for the first time. When Clarice protests that her son is only 17, Angela replies that he's nearly 18: the film makes her reply feel entirely justified, and we wonder, like her, why anyone would ever wish to break up something so good. Karabachian's wide, ultra-charming grin and social confidence as Diogo is the perfect counterpoint to Angela's insecurities.

The scenes between the two of them, which should be full of awkwardness, never are: Significantly, the awkwardness is reserved for other scenes, for example of Diogo's bored family sitting around the dinner table with nothing to say.

Special mention should be made of Diogo's wonderful, hypochondriac kid sister Mariana (Anita Ferraz): Her bro/sis relationship with Diogo feels wonderfully real, and shows that Sholl can handle "normal" emotional ranges as well as the out-there ones the film spends more time exploring.

The film is set mainly in domestic interiors, which Leo Bittencourt's visuals render as either suitably claustrophobic or suitably intimate. Choice of music is spot-on throughout, ending with a version of The Electric Presidents' uplifting "Safe and Sound," previously used in the U.S. TV show The Blacklist — but crucially, the music is never used merely to signal emotion.